{"id":7387,"date":"2026-09-19T15:28:14","date_gmt":"2026-09-19T13:28:14","guid":{"rendered":"https:\/\/wochefuerdeutsch.be\/veranstaltung\/fatherland-von-pawel-pawlikowski-2\/"},"modified":"2026-09-19T16:48:44","modified_gmt":"2026-09-19T14:48:44","slug":"fatherland-von-pawel-pawlikowski-2","status":"publish","type":"tribe_events","link":"https:\/\/wochefuerdeutsch.be\/en\/event\/fatherland-von-pawel-pawlikowski-2\/","title":{"rendered":"Fatherland (by Pawe\u0142 Pawlikowski)"},"content":{"rendered":"

In 1949, author Thomas Mann and his daughter Erika set out to travel through Germany \u2013 their homeland, now in ruins, divided and alien to them. Will they emerge unscathed from the wreckage of history and their family? Following the equally moving, beautifully painful Ida<\/em> (2013) and Cold War<\/em> (crowned Best Film at FFG2018), Polish filmmaker Pawe\u0142 Pawlikowski returns to Cold War Europe to devastating effect. At Cannes, it won him the Best Director award for the second time, and Sandra H\u00fcller further solidifies her status. Freely inspired by a turbulent chapter in the life of one of the 20th century\u2019s greatest writers, road movie Fatherland<\/em> proves that emotions always find their way back home.<\/strong><\/p>\n

Germany, 1949. The world-renowned author Thomas Mann returns to his homeland after sixteen years to receive the prestigious Goethe Prize. But there is little cause for celebration. The war left the country divided, both literally (into West and East Germany) and figuratively. For some, Mann, an exile, is a traitor. Others expect the writer to offer words of hope to help lift society out of the rubble. Meanwhile, the anti-communist United States is keeping a close eye on him. Accompanied by his daughter Erika, his special bond with her also finds itself under strain. Death still haunts Europe and pursues them across national borders.<\/p>\n

When director Pawe\u0142 Pawlikowski was offered the chance to adapt Colm T\u00f3ib\u00edn\u2019s biographical novel The Magician<\/em> for the big screen, he turned down the offer. Nevertheless, one event from the book intrigued him: Thomas Mann\u2019s return to Germany in 1949. The way in which the historical drama intertwined with the personal at that time formed the seed for the screenplay. Together with his co-screenwriter, Pawlikowski built on the creative licence that the fictionalised biography had already taken. Partly due to the surprisingly tender black-and-white cinematography and the intimate, almost square aspect ratio, his latest road trip through European history has inadvertently become the final instalment of a poetic trilogy alongside Ida <\/em>(2013) and Cold War<\/em> (2018).<\/p>\n

The deeply charged concept of Fatherland<\/em> takes on a dual meaning here, raising questions to which we are still seeking answers today. In its serene surrender, the film finds a fragile beauty and solace. Actors Hanns Zischler and Sandra H\u00fcller (The Zone of Interest<\/em>, Anatomie d\u2019une chute<\/em>) are perfectly attuned to one another in their imperfections as father and daughter. The role played by an equally imperfect organ and classical music undoubtedly provides one of the most moving moments of this year\u2019s festival. With his gentle, award-winning film Cold War<\/em>, Pawe\u0142 Pawlikowski won over the hearts of both the international jury and the audience at Film Fest Gent, winning the Grand Prix for Best Film and the Canvas Audience Award respectively. Fatherland <\/em>more than lives up to the high expectations. At Cannes, the Polish filmmaker won the Best Director award for the second time.<\/p>\n

https:\/\/www.filmfestival.be\/en\/film\/fatherland<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"In 1949, author Thomas Mann and his daughter Erika set out to travel through Germany \u2013 their homeland, now in ruins, divided and alien to them. Will they emerge unscathed […]","protected":false},"author":3,"featured_media":7368,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[],"tribe_events_cat":[32],"class_list":["post-7387","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tribe_events_cat-fuer-alle-en","cat_fuer-alle-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tribe_events\/7387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":2,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tribe_events\/7387\/revisions"}],"predecessor-version":[{"id":7393,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tribe_events\/7387\/revisions\/7393"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/media\/7368"}],"wp:attachment":[{"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/media?parent=7387"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tags?post=7387"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/wochefuerdeutsch.be\/en\/wp-json\/wp\/v2\/tribe_events_cat?post=7387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}